Katpedeles and Segments
Final MA Artwork
Brief description of the concept and means of expression
Ornaments of the Balts is a source of inspiration. There are huge unused resources, ideas, allusions in the Baltic deposits; thus, one only has to make use of them. The shapes of ornaments have given rise to a number of ideas, and even to a greater number of their variations. The Baltic ornament has distinguished for simplicity, moderation and sculptural nature. By retaining the recognizable forms, combining the modern with the archaic, I create my own, original version of the Baltic ornament. My goal is to present a picture of the Baltic ornament in a three-dimensional space, to highlight its main forms, to look for a relationship with man, environment, interior fragments, to search for space for developing the ornament by sculptural and architectural solutions. The basis of the paper is the textile pattern “Katpedeles and Segments”.
An ornament is a bridge between the past, the present and the future!
Ornaments circulate and change. The ambition to conduct studies of the Lithuanian patterns on textiles was prompted by such questions as what power, what code, cipher or secret lies in the patterns of textile. Whether an ornament gives a possibility of survival for ideas and peculiar perception of the world. Whether folk art may nourish the forms artistic expression?
In my scientific paper “Ornament in Textile” I revealed with the help of what schemes a fabric may be woven; also discussed the sources of textile patterns, explained their peculiarities, diversity, provided classifications; in short I investigated their form and meaning.
The “Katpedes” pattern of squares woven in Lithuania in 19-20 th century is called this way because the shape of this ornament resembles a cat’s foot. Decorative shapes of the ornament were comprised of two and three size elements. The quadrangle geometrical patterns, called “Katpedes”, were considered among the most typical in our countryside.
The authenticity of textile patterns – implies peculiar forms and names. The basis of creative work is a graphic picture of the smallest recurrent weaving pattern, of a motif of the square textile pattern called “Katpedes and Segments”. The very same graphic ornament transferred to a three-dimensional space becomes a new pattern, a spatial structure, an object of art. The illusion of squares is created in a three-dimensional space using three size square elements (combinations of four shapes) and three different colours: white, brown and blue cardboard, following the identical principles of construction. Blue colours were liked by residents in Southern Lithuania, and it prevailed in the clothing of Lithuanians in East Prussia. Thus, using a non-traditional technique I made a graphic drawing of the ornaments. I dissembled the ornament and split into separate segments.
Final MA Artwork
Brief description of the concept and means of expression
Ornaments of the Balts is a source of inspiration. There are huge unused resources, ideas, allusions in the Baltic deposits; thus, one only has to make use of them. The shapes of ornaments have given rise to a number of ideas, and even to a greater number of their variations. The Baltic ornament has distinguished for simplicity, moderation and sculptural nature. By retaining the recognizable forms, combining the modern with the archaic, I create my own, original version of the Baltic ornament. My goal is to present a picture of the Baltic ornament in a three-dimensional space, to highlight its main forms, to look for a relationship with man, environment, interior fragments, to search for space for developing the ornament by sculptural and architectural solutions. The basis of the paper is the textile pattern “Katpedeles and Segments”.
An ornament is a bridge between the past, the present and the future!
Ornaments circulate and change. The ambition to conduct studies of the Lithuanian patterns on textiles was prompted by such questions as what power, what code, cipher or secret lies in the patterns of textile. Whether an ornament gives a possibility of survival for ideas and peculiar perception of the world. Whether folk art may nourish the forms artistic expression?
In my scientific paper “Ornament in Textile” I revealed with the help of what schemes a fabric may be woven; also discussed the sources of textile patterns, explained their peculiarities, diversity, provided classifications; in short I investigated their form and meaning.
The “Katpedes” pattern of squares woven in Lithuania in 19-20 th century is called this way because the shape of this ornament resembles a cat’s foot. Decorative shapes of the ornament were comprised of two and three size elements. The quadrangle geometrical patterns, called “Katpedes”, were considered among the most typical in our countryside.
The authenticity of textile patterns – implies peculiar forms and names. The basis of creative work is a graphic picture of the smallest recurrent weaving pattern, of a motif of the square textile pattern called “Katpedes and Segments”. The very same graphic ornament transferred to a three-dimensional space becomes a new pattern, a spatial structure, an object of art. The illusion of squares is created in a three-dimensional space using three size square elements (combinations of four shapes) and three different colours: white, brown and blue cardboard, following the identical principles of construction. Blue colours were liked by residents in Southern Lithuania, and it prevailed in the clothing of Lithuanians in East Prussia. Thus, using a non-traditional technique I made a graphic drawing of the ornaments. I dissembled the ornament and split into separate segments.
Artwork "Katpedeles and Segments"
